Kickended by Silvio Lorusso is online database artwork archiving the Kickstarted campaigns that got not even a single penny. This competitive aesthetics of failure has been able to attract the attention of major national newspapers (from the British “The Guardian” to the Italian “Corriere della Sera”).

Graphic Constellations: Visual Poetry and the Properties of Space, it’s an exhibition celebrating the 50th anniversary of the First International Exhibition of Concrete, Kinetic and Phonic Poetry held in Cambridge in late 1964. Curated by Bronac Ferran and Will Hill at the Ruskin Gallery in Cambridge, UK (Image: ‘Poemkon=D=4=Open=Apollinaire’).

The Pirate Bay computers and servers have been seized by Swedish Police on a data center in Nacka (Greater Stockholm). It’s offline since December 9. http://torrentfreak.com/swedish-police-raid-the-pirate-bay-site-offline-141209/

“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.

Acoustic Bend – Evala

Cd – Port
Eccentric, reverberating frequencies, unconventional propagations and resonances, environmental auditory influences and field recordings come together in a work that insists on unusual topological transformations that are suspended in an imaginative crescendo, poised between natural senses and mechanical artifices. Synthetic excursions and slightly inconsistent compositional envelopes, consumed with digital and free-form stylization are presented in a vivid, communicative and effervescent way (to be expected at these latitudes of extreme experimentation). Environmental and natural sounds, hyper-vivid vibrations with unusual attitudes are classified stochastically and then immediately guided back into a succession of drones, clicks and spurious resonances, finally tamed in more sensitive vibrations and “new acoustic” passages. We are immersed in fringe areas, however, that less experienced listeners may normalize under the banner of ‘extreme’, but which to more sophisticated ears can indicate the presence of an acute sensitivity, reactive to the incorporeal and to the many “gray” areas that permeate our reception.